Sustain Sample Clauses

Sustain. The grievance review concludes that the evidence supports the grievance in whole or in part.
Sustain. Sustain instruments continue to play a note audibly as long as the note is held; this is achieved by looping the sample. They are a good choice for slow moving lines that need a consistent sound no matter how long the notes are held. In all Sustain patches, the loudness is controlled with the Mod Wheel (CC 1), not the velocity. The behavior allows you to change the loudness while the note is playing (something not possible with MIDI Velocity). Push the Mod Wheel up to make the sound louder, or down to make it softer. The Articulations named Sus accent include a strong attack that achieves an accent at the start of each note. The loudness of the attack is controlled by the Velocity of the note (while the Mod Wheel still controls the loudness of the sustained note).
Sustain. Filling gaps to increase sustain, but also adjusting the tonal properties of the reverberation (and the sustain) to artistic effect. This section covers some general principles of reverb, along with a little bit of the history, to place in context the use to which reverb – and the LX480 in particular – can be put.
Sustain. Keyswitches‌ The lists below specify the articulations available in each section’s Sustain Keyswitch files. • C0 Sustain Down Bow • C#0 Sustain Up Bow • D0 Détaché Down Bow • D#0 Détaché Up Bow • E0 Tremolo • F0 Trill Half Tone • F#0 Trill Whole Tone • C0 Sustain Down Bow • C#0 Sustain Up Bow • D0 Détaché Down Bow • D#0 Détaché Up Bow • E0 Tremolo • F0 Trill Half Tone • F#0 Trill Whole Tone • G0 Flautando • G#0 Harmonics • C0 Sustain Down Bow • C#0 Sustain Up Bow • D0 Détaché Down Bow • D#0 Détaché Up Bow • E0 Tremolo • F0 Trill Half Tone • F#0 Trill Whole Tone • G0 Sul Ponticello • C0 Sustain Down Bow • C#0 Sustain Up Bow • D0 Détaché Down Bow • D#0 Détaché Up Bow • E0 Tremolo • F0 Trill Half Tone • F#0 Trill Whole Tone • C4 Sustain Down Bow • C#4 Sustain Up Bow • D4 Détaché Down Bow • D#4 Détaché Up Bow • E4 Tremolo • F4 Trill Half Tone Just as with the Sustain patches in the 01 Long folder, the two Sustain articulations in the keyswitches (C0 and C#0) respond to the Mod Wheel for specifying the depth of the vibrato: the more you push up the Mod Wheel, the more vibrato you will hear. The other articulations within the keyswitch file do not have this variable vibrato. Note that the Down Bow and Up Bow articulations are on separate keyswitch notes; to effect an alternation between up and down bow notes, you need to use a keyswitch note every time you want the bow direction to change. There is no automatic alternation as there is in the Sus RR and the Détaché RR instruments in the 01 Long folder. If you want that automatic alternation, then you might consider using an individual Round Robin articulation file instead of this keyswitch file. (If you load two instruments that load the same sample files—as do the 1st Violins Sus RR and the 1st Violins KS C0-F#0 files, for example—PLAY is smart enough to load the samples only once, as long as the two instruments are opened in the same instance of PLAY. Legato Slur and Portamento: 07 (basic) and 08 (Powerful System)‌ These two folders of instruments include a variety of different types of legato playing. Which type to use in any particular context depends on factors such as tempo, size of the intervals between consecutive notes, and the orchestrator’s preferences. Note that the Basses include only 2 kinds of legato instruments: • Legato Slur • Legato Slur Slower Therefore, the descriptions of other legato styles below apply to 1st and 2nd Violins, Violas, and Celli only. The basic types of legato provided in Holl...
Sustain after the decay phase, the envelope will stay at this value until the key is released.
Sustain. Lite‌ The “Sustain Lite” patches behave like the regular Sustain instruments, except that only 2 dynamic layers are available. This approach starts half the number of concurrent voices, compared to the usual Sustain patch. Sustain Marcato Long and Short‌
Sustain. All Sustain instruments continue to play a note audibly as long as the note is held; this is achieved by looping the samples. They are a good choice for slow-moving lines that need a consistent sound no matter how long the notes are held. The Sustain instruments give you a lot of control over the vibrato. In one patch per or- chestral section, the vibrato varies between: • non-vibrato (abbreviated NV) • vibrato (VB)
Sustain. Filling gaps to increase sustain, but also adjusting the tonal properties of the reverberation (and the sustain) to artistic effect. This section covers some general principles of reverb, along with a little bit of the history, to place in context the use to which reverb can be put. Natural reverberation is present everywhere there is sound, with the very particular exception of an anechoic chamber. Reverberation is formed of the decaying echoes of sound. The sound that reaches a listener’s ears – say, the sound of a handclap – will be a combination of the sound that travels direct to them, along with echoes from nearby or far-away surfaces, echoes of those echoes, and so on until their energy has decayed to zero. The character of these echoes will depend upon the positioning and reflective qualities of these surfaces, as well as on the frequency content of the original sound. The medium through which the sound travels – most commonly air – also has an effect on the nature of the sound reaching the listener (air will absorb high-frequency noise). More particularly, reverberation is the term for the “halo” of echoes that are perceived as a unified whole by humans, rather than as distinct, individual echoes. Humans are very adept at deducing information about the surroundings of a sound source by listening to its reverberation, and the qualities of reverberation (or reverb as it is more commonly known) form an intrinsic part of our appreciation of sound and music. Over time humanity has developed its design of interior spaces partly in response to the reverberative qualities of shapes, surfaces and building materials, from the Neolithic chambered cairn of Maes Howe to the most modern concert hall design. Natural ambience Artificial ambience The arrival of sound recording brought with it a specific difficulty regarding reverb. Not only were early microphones, recording media and loudspeakers limited in their frequency response, the whole process also telescoped down the natural reverb cues, leading to a distinctiverecordedquality that was very far from the natural “live” sound. As recording techniques evolved to include multi-tracking, isolation booths and entirely electronic sound sources, a great need arose for techniques that would enable the sense of acoustic space to be added to a recording in which it was now partially or entirely missing. Chambers Initial efforts to capture reverb focused on providing good-sounding spaces in which to record music, ...
Sustain. 13. Support type - select all that apply (M)

Related to Sustain

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